I started as a songwriter and wanted to be like Leonard Cohen. I've always seen my stories as enlarged songs.

Every country should have a strong literary tradition of its own at the center, but it should also have an interest in other countries.

I was very young when I prepared those prints. I suspect the reason I couldn't celebrate the floating world was that I couldn't bring myself to believe in its worth. Young men are often guilt-ridden about pleasure, and I suppose I was no different. I suppose I thought that to pass away one's time in such places, to spend one's skills celebrating things so intangible and transient, I suppose I thought it all rather wasteful, all rather decadent. It's hard to appreciate the beauty of a world when one doubts its very validity

But I really wanted to find it for you. And when it looked in the end like it wasn't going to turn up, I just said to myself, one day I'll go to Norfolk and I'll find it there for her.' 'The lost corner of England,' I said.

It was like being given a maths problem when your brain's exhausted, and you know there's some far-off solution, but you can't work up the energy even to give it a go. Something in me just gave up.

You say you’re sure? Sure that you’re in love? How can you know it? You think love is so simple?

The Booker triumph of Graham Swift's moving, effortlessly profound Last Orders is a vindication of the quiet, much-misunderstood path this fine writer chose to take after the brilliance of Waterland more than ten years ago.